Trinity Music Theory Study Guide – Grade 3

Rhythm

Grade 3 introduces more complex rhythmic concepts, including:

1. Compound time: Time signatures of 6/8, 9/8, and 12/8. These are time signatures where the beat in the bar divides easily into three equal parts, unlike simple time signatures where the beat divides into two. In compound time, the main beat is typically a dotted crotchet, which divides into three quavers. The number 8 is used in the time signature, and quavers are grouped in threes for easy reading.
2. Grouping semiquavers and semiquaver rests: Rules for grouping these in both simple and compound time. In simple time, semiquavers are often beamed in groups of four where the beat is a crotchet. However, they can also be grouped in ways that reflect the crotchet beat, possibly involving quaver or semiquaver rests. Semiquaver rests look like a double hook. You should generally not use two semiquaver rests consecutively unless each completes the crotchet beat grouping. Rests can also be placed within crotchet beat groupings to improve readability. In compound time (6/8, 9/8, 12/8), notes should be grouped in dotted crotchet beat groupings for readability. Semiquavers are often beamed in groups of six where the main beat is a dotted crotchet. If there are fewer than six semiquavers, they are beamed within the dotted crotchet groupings.
3. Dotted quavers and dotted quaver rests: Understanding and using these in simple and compound time. A dotted quaver is equal to a quaver plus a single semiquaver, representing three quarters of a crotchet beat. It is often followed by a single semiquaver to complete a crotchet beat. Less often, the semiquaver comes first. A dotted quaver rest looks like a quaver rest with a dot.
4. Rules for grouping note and rest values: Specific rules apply within 6/8, 9/8, and 12/8 time signatures to ensure clarity. In compound time, think in dotted crotchet beat groupings. For rests in compound time, think in dotted crotchet beat groupings, except for empty bars. A whole bar of silence is always shown by a semibreve rest, regardless of the time signature. Ties should not be used within a dotted crotchet beat. Crotchet rests always come before quaver rests within a dotted crotchet beat.
5. Quaver triplets: Three quavers played in the time of two (in simple time). Composers use simple time signatures if they mainly want to divide beats into two equal parts, and compound time if they mainly want to divide beats into three. When a composer writing in simple time wants to divide a crotchet beat into three equal parts, they use quaver triplets. To show that three notes are a triplet, write a ‘3’ above the centre of the beam. While a bracket is not strictly necessary for three triplet quavers, it must be used for any other triplet grouping.
6. Anacrusis: Notes that appear before the first full bar of a piece, often called up-beats. Bar 1 is always the first full bar. The notes in the anacrusis and the last notes of the piece often add up to a full bar. The first repeat mark is usually placed after the anacrusis. String players using a bow often use an up-bow for a single up-beat, which helps strengthen the sound of the down-bow on the first beat of the bar. Anacrusis is the musical word for music that does not start on the first beat of the bar.
7. Ties: Using ties with the new note values encountered at this grade. A tie connects two notes of the same pitch, meaning the second note is not re-attacked but added to the duration of the first.

Pitch

Key pitch concepts for Grade 3 include:

1. Note names and usage: Using notes in treble or bass clefs up to three ledger lines above or below the stave. New treble clef notes for Grade 3 are shown in purple, others are known from Grades 1 and 2. New bass clef notes for Grade 3 are also shown in purple. An accidental lasts until it is cancelled by another accidental on the same line or space, or until the next bar line.
2. Major keys: Bb and D major are introduced. For all major keys covered so far (which now include C, G, D, and F from previous grades, and Bb and D from Grade 3), you need to know their scales, key signatures, one-octave arpeggios, broken chords, and tonic triads (root or first inversion). The new keys work like others you’ve learned, with key signatures ensuring the correct tone-semitone pattern.
3. Minor keys: G and B minor are introduced. For all minor keys covered so far (which now include A, E, and D from previous grades, and G and B from Grade 3), you need to know their scales (natural (Aeolian mode), harmonic, and melodic), key signatures, one-octave arpeggios, broken chords, and tonic triads (root or first inversion).
   • The melodic minor scale sounds different ascending (6th and 7th degrees raised by a semitone) and descending (6th and 7th degrees returned to natural minor pitch). It is often used for smooth melodies. Natural and melodic minor scales sound the same going down.
4. Second inversions: Knowing the second inversion of major and minor tonic triads in all keys covered so far. In root position, the root is at the bottom. In first inversion, the third is at the bottom. In second inversion, the fifth is at the bottom. The shape of each inversion looks similar wherever it lies on the stave.
5. Identifying the key: Working out the key of a piece in Bb or D major and G or B minor. This involves looking at the key signature, checking for accidentals (especially raised 6th/7th degrees in minor keys), and examining the notes used, particularly at the beginning and end of the piece and those that form tonic/dominant triads. Composers may use the melodic minor scale to give the music a smooth shape. It is not necessary to specify ‘melodic’ or ‘harmonic’ when describing the key.
6. Dominant: The 5th degree of the major or minor scale is known as the dominant or soh. The triad built on the dominant is also significant.
7. Dominant triads: Knowing dominant triads for all keys covered so far. In minor keys, dominant triads are built on the 5th degree of the harmonic minor scale, meaning the 7th degree is raised (though sometimes it is not raised, which will be learned in later grades).
8. Labelling dominant triads: Labelling dominant triads with a chord symbol above the music (e.g., G in the key of C major or E in the key of A minor) or with a Roman numeral below the music (e.g., V in the key of C major or v in the key of A minor). Any chord using the specific notes of the dominant triad (regardless of register) can have that label. Roman numerals help identify the root degree the chord is built upon. Triads with a major 3rd at the bottom use large Roman numerals (I and V), while those with a minor 3rd at the bottom use small Roman numerals (i and v).
9. Leading note: The 7th degree of the major or minor scale is known as the leading note. The 7th degree usually leads up to the tonic when it is part of the dominant chord in the last cadence.
10. Chord progression: Understanding the term ‘chord progression’, which is the order in which chords move from one to another.
11. Perfect cadence: Recognising a perfect cadence in the home key (major or minor). A perfect cadence acts as a musical full stop and is made by following the dominant chord with the tonic (V-I in major keys, V-i in minor keys).
12. Intervals: Identifying and writing major/minor 6ths and major/minor 7ths above any tonic for the grade. In major keys, there is always a major 6th between the 1st and 6th degrees and a major 7th between the 1st and 7th degrees. In natural minor scales, there is always a minor 6th between the 1st and 6th degrees and a minor 7th between the 1st and 7th degrees. To find the interval number, count up from the bottom note. Key signatures might affect the interval. Playing and listening to these intervals helps in learning how they sound.
13. 4-part chords: Writing tonic chords in root position as well-balanced 4-part chords for SATB in any key for the grade. 4-part choirs typically have parts for soprano, alto, tenor, and bass voices. Soprano and alto are often written on one treble clef stave (stems up for soprano, down for alto), and tenor and bass on a bass clef stave (stems up for tenor, down for bass). 4-part chords for SATB often include the three notes of the triad plus an extra root, totalling four parts. Doubling the root makes its sound prominent. Notes should be spread evenly; notes can be closer in the treble than in the bass where they might sound indistinct if not well spaced. This makes the chord sound clear and balanced, giving singers notes that suit their range.
14. Sequences: Understanding real and tonal sequences. A sequence is a tune pattern repeated starting on a different note, either higher or lower. In a real sequence, all intervals within the repeated pattern are the same. In a tonal sequence, the shape of the pattern is the same, but the intervals within it differ. A long sequence may contain a mixture of real and tonal sequences.
15. Motion: Understanding similar and contrary motion. Similar motion occurs when two or more parts move in parallel or the same direction (like parallel lines). Contrary motion occurs when two or more parts move away from or towards one another. Music is still considered contrary motion even if parts move away at different speeds.
16. Transposition: Transposing a tune up or down an octave from treble clef to bass clef and vice versa. This is done to make music suitable for a different instrument or voice range. The method involves writing the new clef and key signature, finding the equivalent note up or down an octave, writing the tune with the same intervals, including accidentals, and checking the final note. Instrument ranges are provided to help determine suitability. The violin and flute are treble instruments (using treble clef), while the cello and bassoon are bass instruments (usually using bass clef).
17. Instrument ranges: Knowing the ranges for violin, flute, cello, and bassoon as defined in the workbook. Ranges are given for players of approximately Grade 5 standard, though complete ranges can be higher. Violin and cello are string instruments; flute and bassoon are woodwind instruments.
18. Instrument types: Knowing that violin and cello are string instruments, and flute and bassoon are woodwind instruments.

Musical Words and Symbols

Grade 3 adds new musical words and symbols to your knowledge, including:

• Dynamic and articulation marks:
  • Marcato (marc.) – marked, accented. The sign is a downward point above or below the note.
  • Semi-staccato – half-staccato, halfway between legato and staccato. The sign is a dot with a dash above or below the note. An articulation mark tells a player how to play the notes (e.g., smoothly or with an accent).
• Tempo, expression marks and other words and signs:
  • Al, alla – like.
  • A tempo – in time or at the speed the piece started.
  • Con – with.
  • Da Capo al Fine – go back to the beginning and play until it says Fine. Fine means ‘the end’.
  • Dolce – sweetly. Expression marks tell a player the feeling or mood to give the music.
  • Down-bow (sign: a square symbol like a bridge, usually above the note) – to be played with a down-bow (for bowed string instruments). This is an instrument-specific instruction.
  • E, ed – and.
  • Leggiero – lightly.
  • Ma – but.
  • Marziale – march-like.
  • Meno – less.
  • Mosso, moto – movement.
  • Non – not.
  • Piu – more.
  • Poco – little.
  • Tranquillo – calmly.
  • Troppo – too much.
  • Up-bow (sign: V, usually above the note) – to be played with an up-bow (for bowed string instruments).
  • Vivo – lively.

Tempo marks tell a player what speed to play the music.

The workbook also mentions knowing common abbreviations where appropriate.

Writing Music

The workbook includes tasks that involve writing your own tunes or musical lines based on given rhythms or chord progressions.

• Writing your own tunes: You might write tunes to a given rhythm using specific scales (like the first five degrees or notes of a tonic triad) and key signatures, finishing on the tonic. Adding musical words and symbols learned at Grade 3 is also a task.
• Writing a bass line: You might write a bass line using the root of each triad indicated by Roman numerals or chord symbols. The bass line is usually the lowest line of music. A strong bass line often moves in contrary motion to the tune. Avoid writing the bass line in similar motion in perfect 5ths or octaves with the tune, as this sounds weak and loses marks.
• Writing a tune above a bass line: Using notes from the tonic or dominant triads indicated by Roman numerals or chord symbols, you write a tune above a given bass line. Remember to raise the 7th degree when using the dominant triad because the large Roman numeral (V) indicates a major 3rd at the bottom of the triad. A strong tune often moves in contrary motion to the bass line. Playing or singing the tunes you write is helpful.
• Writing 4-part chords: As mentioned, writing 4-part chords for SATB in root position, doubling the root, is a Grade 3 task. The brace symbol shows that the two staves of music for SATB should be played at the same time. Ensure top and bottom notes line up to make the rhythm clear.

Analysis

Analysis is a significant part of the exam (Section 7). You will be asked questions about a piece of music based on the concepts learned. This includes identifying the key, tonic, dominant, intervals, sequences, cadence types, rhythm groupings, anacrusis, musical terms, and comparing pitches and motion between parts.

Supporting Information

The workbook includes additional helpful information:

• Instrument and voice ranges: Specific ranges are provided for violin, cello, flute, bassoon, soprano, alto, tenor, and bass. Music is suitable for an instrument or voice if its notes fit within the given range. Note that music for tenor voice is sometimes written in treble clef an octave higher than it sounds.
• Different words – same meaning: You need to know alternative terms for certain concepts. For Grade 3, this includes:
  • Dominant and soh (in major keys only).
  • Perfect cadence and full close.
  • Similar motion and parallel motion.
  • The name Anon is short for anonymous, meaning the composer is unknown.

Sample Examination Paper

A sample examination paper is included, outlining the format and types of questions for each section of the Grade 3 exam.

• Section 1: General multiple choice questions (10 marks).
• Section 2: Writing scales, arpeggios, broken chords (15 marks).
• Section 3: Correcting mistakes (10 marks).
• Section 4: Transposition (15 marks).
• Section 5: 4-part chords for SATB (Soprano, Alto, Tenor, Bass) (15 marks).
• Section 6: Adding a bass line to a tune or vice versa (15 marks).
• Section 7: Analysis (10 questions, 20 marks).

Conclusion

The Trinity Grade 3 Theory Workbook provides a structured path to mastering the required knowledge for the exam. Covering new rhythm complexities like compound time and quaver triplets, expanding your understanding of keys, scales, chords, and intervals, and introducing key musical terms and symbols are all part of the journey. By working through the explanations and tasks, and remembering the tips for accuracy and practice, you can build a solid foundation in music theory.